DETAILS ABOUT OUR SALE

1. Use code "FREESHIP19" at checkout.

2. Free shipping only applies to orders shipping to US Locations.

3. To receive your artworks by December 25th we ask that you order your works by December 9th for their prompt arrival. We can not guarantee delivery past December 9th on framed and unframed works, and can only guarantee that we will work within our power to get these works to you on time. Delivery services may be delayed or busy during the holiday season. Please take this into account as you shop online.

GIVE THE GIFT OF ART

Framing

Our frames are produced from the best quality wood, primarily
from Italy. Each is custom cut and assembled by hand to fit your art.
Hanging hardware included!

THIN GALLERY FRAME

This modern profile was designed for artists and photographers.
Narrow on the front and deep on the sides, our slim mouldings provide
a clean, sharp frame for your art, and allows all focus to be on your
gorgeous work.

3/4" wide; 1 1/8" deep

UV - PROTECTIVE ACRYLIC

Our acrylic is more expensive than glass, but we use it because it’s
clearer, far more impact resistant, and protects your art against UV rays.
Framing-grade acrylic has become a new standard in framing because of
its “clear” benefits.

THE FULL BLEED

Works are framed flush with the edge of your print without a mat.
Request border modifications and spacers, which keep the work from
touching the glass.

THE MAT

Adds a white core mat with a bevel cut opening to the edge of your
print. If your work has a signature or edition numbering, we will
automatically mat around it unless otherwise specified.

THE FLOAT

Floating a piece allows for a full view of the face and sides of the
artwork. Floating is recommended for original drawings and paintings
or any piece produced on specially trimmed paper.

Shipping

Shipping rates are calculated by the size of the package, and shipped via FedEx.
Please reach out to info@thetappancollective.com for any specific shipping and handling questions.

Orders ship within 10 business days.

Returns

We are dedicated to providing our collectors with accurate descriptions
and visuals of the artwork featured on our site. However, if you are displeased with your
acquisition please email us at info@thetappancollective.com. We’ll gladly offer you a store
credit within 10 days of receipt of the artwork. Custom framed pieces and originals will
have a 20% processing fee.

If your works arrive damaged, please ensure Tappan is notified
within 14 days of delivery.

Returns

We are dedicated to providing our collectors with accurate descriptions and visuals of the artwork featured on our site. However, if you are displeased with your acquisition please email us at info@thetappancollective.com. We’ll gladly offer you a store credit within 10 days of receipt of the artwork. Custom framed pieces and originals will have a 20% processing fee.

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Interested in "with all untrimmed nature to travel through." by Anna Ayeroff?

"with all untrimmed nature to travel through."

"Photography is a method for communing with the past. It is my way of building futures. The photograph is recorded time. It is moments of light made still. The photograph tells a story. The dark room, the sunlight, making records of time passing," explains Ayeroff. Ayeroff processes her film with a non-toxic developer made from coffee and vitamin C. Caffenol. "This is a process rich with flaws," she says. "My film is streaked with stains. Scan it and the image is brightly colored, the scanner software strangely interpreting light as nearly neon, contemporary. Printing in the darkroom with caffenol as the developer, stains the paper coffee colored, dating it. My artworks are a record of my research, they are methods for searching, they are the documents of my movements back to the land. They remind me of the value of the wild, of the soil, of the giant majestic mountains. They remind me to try to move mountains. They allow me to move mountains. An earnest, perhaps naive, attempt to make the world better."

DESCRIPTION

Silver gelatin print resin­ coated print, developed with Caffenol

DIMENSIONS

8 x 10 inches

FRAMED MEASUREMENTS

Matted: 15.25 x 17.25 x 1.25 inches

Floated: 12.25 x 14.25 x 1.24 inches

AUTHENTICATION

The work comes with a Certification of Authenticity signed by the Co-Founder of Tappan.

SHIPPING

Unframed works ship in 5 business days. Framed works ship in 10-14 business days

"They remind me of the value of the wild, of the soil, of the giant majestic mountains. They remind me to try to move mountains. They allow me to move mountains. An earnest, perhaps naive, attempt to make the world better."

"My artworks are a record of my research, they are methods for searching, they are the documents of my movements back to the land." -Anna Ayeroff

About Anna Ayeroff

Anna Ayeroff is an artist and art educator based in Los Angeles. She works primarily in sculpture, photography and film, using her art practice as a research tool. Ayeroff builds imagined perfect worlds, performs rituals of place making and enacts a search for utopia through her work.

When she is not on the road searching for perfect places, her project, "a space (for art)", an art education mentorship program for children and teens based in her studio, is her method for moving mountains. Her work has been included in several exhibitions in Los Angeles and throughout the United States.

My paternal grandfather was born in 1911, in Clarion, Utah, a small farm colony developed by a group of Jewish immigrants who came from New York City. They wanted to live off of the land. They wanted to make a different kind of life than the ghetto life they had always known. They were radicals. The colony failed after a few short years.

My practice starts with a story. Clarion locates me in a lineage. And my practice is built from that place. People searching for a better way of life, people looking to change their worlds, the world. Clarion is my field site, my stage, my flawed foundation.

I read Charlotte Perkins Gilman’s early feminist Utopian story, Moving the Mountain, shortly after my first visit to the Clarion site. Gilman refers to her text as a “baby utopia, a little one that can grow.” She tells the story of a world not so different from our own, with a value placed on community, shared space, goodness. She got me asking, “How do I move mountains?”

Driving is a way to. Mountains shift place in my window frame as I pass. Get in the van. Go.

Photography is a way to. Double exposures. Copies. Multiples. Photography is a method for communing with the past. It is my way of building futures. The photograph is recorded time. It is moments of light made still. The photograph tells a story. The dark room, the sunlight, making records of time passing.

I process my film with a non-toxic developer made from coffee and vitamin C. Caffenol. This is a process rich with flaws. My film is streaked with stains. Scan it and the image is brightly colored, the scanner software strangely interpreting light as nearly neon, contemporary. Printing in the darkroom with caffenol as the developer, stains the paper coffee colored, dating it. I use cyanotypes to make prints with sunlight, time making marks upon chemistry as the sun shifts overhead.

Time collapses. Time is performed. Time moves mountains.

My artworks are a record of my research, they are methods for searching, they are the documents of my movements back to the land. They remind me of the value of the wild, of the soil, of the giant majestic mountains. They remind me to try to move mountains. They allow me to move mountains. An earnest, perhaps naive, attempt to make the world better.